Artful Thinking: Step Inside and Ten Times Two
The Artful Thinking approach, designed by Project Zero at Harvard University, teaches students how to think
critically through the use of simple routines for observing and analyzing art. In doing so, the visual arts
becomes a force for developing thinking skills and dispositions that students can apply across the curriculum.
You can find out more about Project Zero and Artful Thinking Strategies here.
Additional Artful Thinking strategies can be found within our list of lesson plans. In this lesson, students will
practice two strategies that highlight critical thinking skills: Step Inside (Perceive, Know, Care About) and Ten
Times Two.
Grade Level
Adaptable for all grade levels
Common Core Academic State Standards
• CCSS.ELA-LITERACY.CCRA.R.1
• CCSS.ELA-LITERACY.CCRA.SL.1
• CCSS.ELA-LITERACY.CCRA.W.1
• CCSS.ELA-LITERACY.CCRA.W.9
Pennsylvania Academic Standards
• 9.4.3.B: Know how to communicate an
informed individual opinion about the
meaning of works in the arts
• 9.4.8.B: Compare and contrast informed
individual opinions about the meaning of
works in the arts to others
National Core Arts Anchor Standards
• Anchor Standard #7: Perceive and analyze
artistic work
Sunflowers, 1888 or 1889
Vincent van Gogh (Dutch)
Oil on canvas
36 3/8 x 28 inches (92.4 x 71.1 cm)
The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963
1963-116-19
Division of Education and Public Programs, School and Teacher Programs
philamuseum.org/education
Part 1 — Step Inside (Perceive, Know, Care About)
1. Select a work of art to model the thinking routine. Works of art that depict one or more figures tend to
work best for this exercise. Ask a volunteer to select a person, animal, or thing in the image and ask
the group to imagine themselves inside that point of view. Whether an animal or a person, the
student’s selection becomes his or her character.
a.
Start by asking, “What can the character perceive?” You may want to define perceive by telling
students that it covers everything one might be aware of through the senses: sight, sound, smell,
taste, and touch. For example, students could note what direction their character is facing and
what that character might be seeing; or think about the character’s immediate environment and
imagine what might be heard.
b. As a group, have them consider what their character might know or believe. This challenges
students to interpret context clues and develop a more complete story. They should use visual
clues such as expression, body language, props, and setting to support their ideas. To reinforce
this valuable skill, ask frequently, “Why do you say that?” or “What do you see that leads to that
conclusion?”
c.
Finally, ask the group, “What might your character care about?” This asks them to empathize with
the character and consider the emotional impact of the scene and the relationships between
different people, animals, or objects. As before, ask student’s to explain the basis of their
interpretations.
2. Once you have modeled this strategy, divide students into pairs and distribute the Step Inside
handout (attached). Continuing with the same work of art, have students choose another person or
thing to focus on and complete the handout. Have students share their ideas with the class once
complete.
Assessment: Monologues
Each student should take a moment to add to his/her information about the chosen character. Then,
students should write monologues from the point of view of their chosen character. Monologues should
include not only what the character perceives, but also what the character cares about, all within the
context of the scene. Monologues should be written in first person. These may be collected and
evaluated, but at some point select students to read their monologues aloud for the class to see if other
students can guess who is “speaking.”
Part 2 — Ten Times Two
The Ten Times Two routine helps students slow down and make careful, detailed observations by
encouraging them to push beyond first impressions and obvious features. The creation of the Condensed
Poem works well at the end of a discussion or activity to help students clarify their thinking and hone their
descriptive language.
Possible artworks to use for this exercise:
• The Burning of the Houses of Lords and Commons, October 16,1834, 1834–35, by Joseph Mallord
William Turner
Artstor search: PMA Mallord lords and commons
• Sunflowers, 1888 or 1889, by Vincent van Gogh
Artstor search: PMA van Gogh sunflowers
Division of Education and Public Programs, School and Teacher Programs
philamuseum.org/education
• Male and Female, 1942–43, by Jackson Pollock
Artstor search: PMA Pollock male and female
1. Select a new work of art for this looking exercise. Theoretically, any artwork would work. However,
read through the process below and select an artwork to which your class will be able to respond
effectively, or choose one from the three linked above.
2. Encourage your students to look closely at the work of art for at least 30 seconds. To maintain focus,
students should compile a list of 10 words or phrases about any aspect of the image.
3. Have students share one word from their list. Discuss: how many students ran out of things to list?
What was their reaction to looking at one painting for so long? Have students take a moment to look
over the list of a partner.
4. Now students should look at the same work of art for another 30 seconds and list 10 additional words
that come to mind as they explore it more deeply.
5. Invite students to share new words/insights from their second observation time. Discuss: were they
able to find 10 more words easily? Could they have listed more if asked? Did the second round seem
shorter than the first (a common perception)? Which of their lists of words do they like better, the first
or the second, and why?
Assessment: Condensed Poems
1. Starting with their list of 20 descriptive words and phrases, ask student to look at their list and cross
out 10 words, leaving the 10 they like best.
2. Next, ask students to cross out another 5 words; leaving the 5 best words on their list to create their
poem.
3. Tell students to take the 5 words and order them so that they like the way they sound (and the story
they begin to tell) as they are read one after the other.
4. Have students share their five word poems.
Example
Based on Turner’s The Burning of the Houses of Lords and Commons, October 16,1834:
Bright
Flames
Shining
Night
Sky
Extension
The poems can be left in this form or can be extended into 5 lines by further developing the ideas from
the selected words. Example:
Bright burning buildings
Flames licking the air
Shining (like a beacon)
lighting the Night
setting the Sky on fire
Division of Education and Public Programs, School and Teacher Programs
philamuseum.org/education